Linking enduro to aws s3 storage enables two features:
To enable s3 quickly, just use enduro setup s3
:
Wow, we are done! Now you can use juicebox, upload images to s3 from admin interface.
Below is a step-by-step guide on how to enable s3:
First, you have to have a s3 bucket created. Create one if you didn't do so. When you have your s3 bucket ready, just pass it's name to enduro in /enduro.json file along with the region of this bucket:
{
"project_name": "Your project name",
"project_slug": "ypn",
"s3": {
"bucket": "testbucket",
"region": "eu-west-1"
}
}
Be careful not to use the root credentials, but to use iam to create a key pair for use with s3 only. Once you have your key and secret, add it to /enduro_secret.json or as a environment variable:
{
"secret": {
"s3": {
"S3_KEY": "<your_aws_key>",
"S3_SECRET": "<your_aws_secret_key>"
}
}
}
Cloudfront is a cdn from aws. If you want to use it, just add cloudfront variable into the s3 object in /enduro.json file.
{
"project_name": "enduro website",
"project_slug": "ew",
"s3": {
"bucket": "enduro.website",
"region": "eu-west-1",
"cloudfront": "d32ujqjov16ho0.cloudfront.net"
},
"juicebox_enabled": true
}
Currently, using s3 Frankfurt - eu-central-1 location is not possible.


This class implements a universal haptic device handler. More...
#include <CHapticDeviceHandler.h>
Public Member Functions | |
| cHapticDeviceHandler () | |
| Constructor of cHapticDeviceHandler. More... | |
| virtual | ~cHapticDeviceHandler () |
| Destructor of cHapticDeviceHandler. More... | |
| unsigned int | getNumDevices () |
| This method returns the number of devices currently connected to the computer. More... | |
| void | update () |
| This method updates information about the devices that are currently connected to the computer. More... | |
| bool | getDeviceSpecifications (cHapticDeviceInfo &a_deviceSpecifications, unsigned int a_index=0) |
| This method returns the specifications of the i-th device. More... | |
| bool | getDevice (cGenericHapticDevicePtr &, unsigned int a_index=0) |
| This method returns a handle to the i-th device, if available. More... | |
This class implements a manager which lists the different devices available on the computer and provides handles to them.
| chai3d::cHapticDeviceHandler::cHapticDeviceHandler | ( | ) |
Constructor of cHapticDeviceHandler.
|
virtual |
Destructor of cHapticDeviceHandler.
|
inline |
| void chai3d::cHapticDeviceHandler::update | ( | ) |
This method searches and lists all haptic devices connected to the computer.
| bool chai3d::cHapticDeviceHandler::getDeviceSpecifications | ( | cHapticDeviceInfo & | a_deviceSpecifications, |
| unsigned int | a_index = 0 |
||
| ) |
This method returns the specifications of the i'th device.
| a_deviceSpecifications | Returned result |
| a_index | Index number of the device. |
| bool chai3d::cHapticDeviceHandler::getDevice | ( | cGenericHapticDevicePtr & | a_hapticDevice, |
| unsigned int | a_index = 0 |
||
| ) |
This method returns a handle to the i'th device if available.
| a_hapticDevice | Handle to device |
| a_index | Index number of the device. |


The Cheapest iPhone 11 Deal for Black Friday 2019
Find and compare the very best iPhone 11 deals this Black Friday. Pick up the cheapest iPhone deal on the market at the moment, only £33 per month with 60GB data.
by Robert AndersonWe review products independently, but we may earn affiliate commissions from buying links on this page. Terms of use.
Black Friday is actually a great time to get a new mobile phone contract, and there are quite a few deals already around on sites such as Carphone Warehouse and Mobiles.co.uk.
The iPhone 11 is certainly going to be a popular device during the shopping event, and now you pick up the handset with one of the best Black Friday deals available right now.
Best iPhone 11 Deals for Black Friday
This deal on Mobiles.co.uk will set you back £33 per month, and you only have to pay £65 upfront when you use our exclusive code PCMAG10. It comes packed with 60GB data provided by Vodafone, alongside unlimited calls and texts.
SEE ALSO: Black Friday UK: The Best Deals on Laptops, TVs, Gaming, and Tech
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These are definitely some of the best mobile phone deals you’ll find during Black Friday this year, as this offer can even beat the incredibly cheap offers typically running on Sky Mobile.
- iPhone 11: Vodafone, £33/month, 60GB data, £65 with code PCMAG10
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Cover Designer
Book title
Book subtitle
Author name
Background color
Publisher
Publishing date
Generate


imageDescription
imageDescription(illuminationElevationAngle = NULL, illuminationAzimuthAngle = NULL, imageOrientationAngle = NULL, imagingCondition = NULL, imageQualityCode = NULL, cloudCoverPercentage = NULL, preProcessingTypeCode = NULL, compressionGenerationQuality = NULL, triangulationIndicator = NULL, radiometricDataAvailability = NULL, cameraCalibrationInformationAvailability = NULL, filmDistortionInformationAvailability = NULL, lensDistortionInformationAvailability = NULL, bandDescription = NULL)
| illuminationElevationAngle | Illumination elevation measured in degrees clockwise from the target plane at intersection of the optical line of sight with the earth's surface. See |
|---|---|
| illuminationAzimuthAngle | Illumination azimuth measured in degrees clockwise from true north at the time the image is taken. See |
| imageOrientationAngle | Angle from the first row of the image to true north in degrees, clockwise. See |
| imagingCondition | Code which indicates conditions which affect the quality of the image. See |
| imageQualityCode | Specifies the image quality. See |
| cloudCoverPercentage | Area of the dataset obscured by clouds, expressed as a percentage of the spatial extent. See |
| preProcessingTypeCode | Image distributor's code that identifies the level of radiometric and geometric processing applied against the image. See |
| compressionGenerationQuality | Counts the number of lossy compression cycles performed on the image. See |
| triangulationIndicator | Code which indicates whether or not triangulation has been performed upon the image. See |
| radiometricDataAvailability | Code which indicates whether or not Standard Radiometric Product data is available. See |
| cameraCalibrationInformationAvailability | Code which indicates whether or not constants are available which allow for camera calibration corrections. See |
| filmDistortionInformationAvailability | Code which indicates whether or not Calibration Reseau information is available See |
| lensDistortionInformationAvailability | Code which indicates whether or not lens aberration correction information is available See |
| bandDescription | Description of the wavelength domain that the sensor operates in. See |
a imageDescription list object


There is a joy as old friends reunite and new sisters and brothers are welcomed. Ours is a "blended" worship -- meaning that we incorporate elements of both contemporary and traditional worship, so that the language of every heart gets spoken. The voices and gifts of our children and youth are featured often. The music is homespun and heartfelt, yet excellent in quality. There are choirs for adults and children, as well as hand bells and Praise Team. There is community time, when joys and concerns are lifted together to God. Worship is a primary way to give honor and glory to God. Won't you come and celebrate with us Christ's love and acceptance of all?
Call to Action »Lorem ipsum dolor sit amet, consectetur adipisicing elit. Sapiente esse necessitatibus neque sequi doloribus.
"We are here to help!"
Each time you see the Cross and Flame emblem, you are looking at United Methodism's official symbol.
Known informally as the Cross and Flame logo, but formally known as the denomination's insignia, it has been in use nearly three decades. It is seen in cities, towns, and rural areas at every point on the globe.
Maynard Avenue United Methodist Church was chartered with forty-one members in 1909 as Grace Methodist Protestant Church. For several months, services were held in a house on Indianola Avenue. When it became too crowded, a tent was erected on part of what is now the church parking lot. The first pastor was Samuel Heininger of Indiana. His work was blessed and the young congregation grew rapidly in influence in the community.
The first part of the church building was constructed in 1910, and in 1914 it was remodeled and enlarged. Work began in 1926 on the present form of our building. The parsonage across the street was completed in 1922. Maynard Avenue Church was well known for our food booth at the nearby Ohio State Fair, which was in operation each year since 1916, except during WW II when the fair was canceled. What started with soup homemade by Sunday school classes and the Women's Society grew to a full-scale grill and restaurant staffed by dozens of volunteers. Unfortunately the fair booth was disbanded in 2011, serving our community for 97 years.
The membership of Maynard Avenue Church increased as the neighborhood flourished, once welcoming nearly 700 persons in multiple services on Easter. After about 1960, however, like many other urban congregations, Maynard Avenue Church gradually declined. Members moved farther north and new neighborhood residents did not connect with this church.
Worship attendance reached as low as 60 persons. But in recent years, the congregation has reconnected with the neighborhood, reached many gay and lesbian Christians, and been revitalized by a sense of God's mission and vision. Average worship attendance is now growing from just over 100.
We have been blessed by a rich history and feel called to an even greater future of making disciples of Jesus Christ.
The insignia is a cross linked with a dual flame. This symbol relates our church to God by way of the second and third persons of the Trinity; the Christ (cross) and the Holy Spirit (flame).
Apart from Wesleyan Trinitarian theology and warmth, the flame has two other connotations. The flame suggests Pentecost when witnesses saw “tongues as of fire.” And the duality of the flame was meant to represent the merger in 1968 of two denominations: The Methodist Church and the Evangelical United Brethren Church.


Applies cosine decay to the learning rate.
tf.compat.v1.train.cosine_decay( learning_rate, global_step, decay_steps, alpha=0.0, name=None )
See [Loshchilov & Hutter, ICLR2016], SGDR: Stochastic Gradient Descent with Warm Restarts. https://arxiv.org/abs/1608.03983
When training a model, it is often recommended to lower the learning rate as
the training progresses. This function applies a cosine decay function
to a provided initial learning rate. It requires a global_step
value to
compute the decayed learning rate. You can just pass a TensorFlow variable
that you increment at each training step.
The function returns the decayed learning rate. It is computed as:
global_step = min(global_step, decay_steps) cosine_decay = 0.5 * (1 + cos(pi * global_step / decay_steps)) decayed = (1 - alpha) * cosine_decay + alpha decayed_learning_rate = learning_rate * decayed
decay_steps = 1000 lr_decayed = cosine_decay(learning_rate, global_step, decay_steps)
learning_rate
: A scalar float32
or float64
Tensor or a Python number.
The initial learning rate.global_step
: A scalar int32
or int64
Tensor
or a Python number. Global
step to use for the decay computation.decay_steps
: A scalar int32
or int64
Tensor
or a Python number. Number
of steps to decay over.alpha
: A scalar float32
or float64
Tensor or a Python number. Minimum
learning rate value as a fraction of learning_rate.name
: String. Optional name of the operation. Defaults to 'CosineDecay'.A scalar Tensor
of the same type as learning_rate
. The decayed
learning rate.
ValueError
: if global_step
is not supplied.When eager execution is enabled, this function returns a function which in turn returns the decayed learning rate Tensor. This can be useful for changing the learning rate value across different invocations of optimizer functions.


This is the partial for view 2.
Showing of 'interpolate' filter: {{ 'Current version is v%VERSION%.' | interpolate }}
Angular seed app: v


✓ Connected
✘ Disconnected
✘ Connecting......
You can
"Ctrl+c" + "rails s" and "Ctrl+z" + "fg 1"
the server to see how it affects client states over time.
Each client will maintain one and only one open connection and multiple clients will reconnect at slightly different times on server restart.


INSTRUCTIONS: Click on any of the below Mega Man home screen images to navigate to that game's robot master page.


Projects
EV3Dev-lang-java is a set of Java libraries to help the user to build educational robots with Java. In the project we differenciate between stable projects and incubator projects. Stable projects are repositories used for long time in different scenarios for multiple users and they are considered as complete. Incubators projects are repositories with non complete features or proof of concepts.
Stable projects
The following projects are considered as stable projects:
- OpenJDK for EV3
- LeJOS-commons
- EV3Dev-lang-java
- Examples
- Template-project-gradle
OpenJDK for EV3
A custom Build of OpenJDK 9/10/11/12 for EV3, a Lego Mindstorms Brick using ARM Soft Float.
Further information here
LeJOS-commons
LeJOS commons is a set of interfaces from LeJOS project and used in EV3Dev-lang-java.
Further information here
EV3Dev-lang-java
EV3Dev-lang-Java, is the Java implementation of EV3Dev runtime and using the LeJOS syntax.
Further information here
Examples
This repository store example using the libraries.
Further information here
Template-project-gradle
A ready to use ev3dev-lang-java project to help users with the task to begin a new project with Gradle from Scratch
Further information here
Incubator projects
The following projects are considered as stable projects:
- LeJOS-navigation
- USB-devices
- ROS
- ROS-Client
LeJOS navigation
LeJOS local navigation stack.
Further information here
USB-Devices
A Java libraries to manage USB devices like Controllers, Arduinos, IMUs, GPS, etc...
Further information here
ROS
A ROS repository to manage all developments to run on your laptop for SLAM purposes
Further information here
ROS-Client
A library to interact with ROS for Mindstorms Bricks
Further information here


This represents the eligibility checker. Click the button below to return to the 'retailer's website'.
Click Me


Preparation time
less than 30 mins
Cooking time
10 to 30 mins
Serves
Serves 4
Dietary
You can use any type of mushrooms you have for this slinky smooth soup. The herby topping and garlic bread brings a delightful crunch. Recipe inspired by Saturday Kitchen viewer Rebecca Collins.
To make the soup, heat the oil in a sauté pan over a medium heat. Add the shallots, garlic, mushrooms and thyme and cook 2–3 minutes. Add 500ml/18fl oz water,
bring to the boil and cook for a further 3 minutes. Add the cream and blitz in a blender until smooth.
To make the topping, heat the oil in a frying pan over medium heat. Add the onion and mushrooms and cook for 2 minutes. Add the herbs and mix to combine.
To make the bread, heat the oil in a frying pan over a medium heat. Add the bread and garlic and cook until crispy. Remove from the pan and allow to drain on kitchen paper.
To serve, pour the soup into serving bowls and top with the garnish and garlic bread. Garnish with the parmesan and truffle shavings.


Repertoire
2014
Conductor: Raymond Yong
Soloist: Benjamin Martin piano
PROGRAM
Ludwig van Beethoven: Symphony No. 6 in F major Op 68 “Pastoral”
Aaron Copland: An Outdoor Overture
Leonard Bernstein: Three Dance Episodes from “On the Town”
George Gershwin: Rhapsody in Blue
Orchestra Members:
Rehearsal Conductor: Andrew Ryder
Concert Master: Stephen Frewen-Lord
Violin I: Stephen Frewen-Lord, Kimberly Riskas, Stacey Lun, Satashi Siratuschi, Vicky Hultgren, Margot Doherty, Jasmine Martin, Tracey Cook, Ashley Harrington.
Violin II: Alexandra Gorton, Rishabh Verma, Sophie Gregory, Suva Leitch, Jasmine Lee, Victoria Kanowski, Stephanie Rigano.
Viola: Danielle Bijl, Cortney Husodo, Emily Mathews.
Cello: Rachel Lind, Arabella Campbell, Margaret Loftus, Carole Radanovic, Samuel Yick, Wade Tattersall, Rachel Hill, Rebecca Marki.
Double Bass: Stephen Kluver, Rohan de Bruyers, Chloe Williamson*
Flute: Michelle Lee See, Brooke Schampers.
Piccolo: Sally Faint
Oboe: Bernie Girard*, Georgina Kanowski.
Clarinet: Jacinta Payne, Rianta Belford, Craig Land.
Bass Clarinet: Craig Land, Sophie Vigor.
Alto Saxaphone: Rianta Belford, David Salisbury.
Tenor Saxaphone: Sally Faint.
Bassoon: Katy Frewen-Lord, Carl Bryant.
Horn: Andrew Ryder, Sarah Prideaux, Ben Fryer
Trumpet: Arthur Florence, Angela Murray, Ben Fixter.
Trombone: Dylan Troyan, Haong-Tuong Nguyen-Hao, Amy Windsor.
Piano: Stephanie Rigano.
Timpani: Noel Price.
Auxilliary Percussion: Andrew Hodgson, Ruby Ansic.
* augmenting players from Brisbane
2013
Conductor: Richard McIntyre
Featuring Soloists and Choirs from Townsville Choral Society and North Queensland Opera and Music Theatre Company
Narrator : Bernie Lanigan
PROGRAM
PINEAPPLE POLL OVERTURE
PIRATES OF PENZANCE
O Better Far to Live and Die
O, is there not One Maiden Breast
Poor Wand’ring One
Hold Monsters
I am the very Model of a Modern Major-General
When the Foeman Bares His Steel
When a Felon’s Not Engaged
Poor Wande’ring One
THE MIKADO
Overture excerpt
If You want to know Who We Are/ A Wand’ring
Minstrel
Young Man Despair
As Some Day it May Happen
Three Little Maids
The Sun Whose Rays
A More Humane Mikado
The Flowers That Bloom in the Spring
Alone, and Yet Alive … Hearts Do Not Break
Willow, tit-willow
There is Beauty in the Bellow of the Blast
For He’s Gone and married Yum Yum
THE GONDOLIERS
Excerpt from “Dance a Cachucha”
We’re Called Gondelieri
From the Sunny Spanish Shore
In Enterprise of Martial Kind
I Stole the Prince
Then One of Us Will be Queen
Then Away They Go
Of Happiness the Very Pith
Rising Early in the Morning
Take a Pair of Sparkling Eyes
Dance a Cachucha
Luiz! … Casilda! … Is this Indeed the King?
OR When Others Claimed Thy Dainty Hand
Orchestra Members:
Rehearsal Conductor: Andrew Ryder.
 Vocal Directors: Rachel Cairns; Meghan Walsh. Répétiteur:Trevor Riley Orchestra Manager: Sally Frewen-Lord. Stage Manager: Judy Hunter.
Conductor: Mario Dobernig
Artworks in Theatre: Gai Copeman
Program:
Strauss: “Die Fledermaus” Overture
Haydn: Symphony N0 104 in D major “London”
Mussorgsky/Ravel: Pictures at an Exhibition
Orchestra Members:
Rehearsal Conductor: Andrew Ryder
Concert Master: Stephen Frewen-Lord
Violin 1: Stephen Frewen-Lord; Margot Doherty; Stacey Lun; Eddie Chong; Tracey Cook; Erin Darrigan; Ashley Harrington; Fiona Hu; Felicite Heine (Melbourne); Satoshi Siratsuchi;
Violin II: Vicky Hultgren; Alexandra Gorton; Louise de Jersey; Karin Croft; Rishabh Verma; Suva Leitch; Sophie Gregory; Tori Lawn; Jasmine Lee; Bianca Parison; Bianca Bachiella
Viola: Jess Winton; Michael Hanrahan; Liz Malone; Alanna Kelly; Bethany Waller; Megan Adkins; Emily Matthews.
Cello: Rachel Lind; Ivy Wu; Wade Tattersall; Aleisha Strom; Carole Radovanovic; Margaret Loftus; Arabella Campbell; Rebecca Marki; Rachel Hill.
Double Bass: Stephen Kluver; Rohan Bruyeres; Katryn Strong (Brisbane).
Flute: Sarah Binder; Megan Pollock.
Piccolo: Sally Faint
Oboe: Katy Frewen-Lord; Georgina Kanowski
Cor Anglais: Anneka Celotto
Clarinet: Jacinta Payne; Rosie Doherty
Bass Clarinet: Craig Land
Bassoon: Carl Bryant; Helen Land
Alto Saxophone: Rianta Belford
Horn: Kimberley Murray; Amy Gutterson; Ben Fryer; Andrew Ryder
Trumpet: Suzanne Darrigan; Felicity Coad; Arthur Florence
Trombone: Dylan Troyahn; Tangiora Armstrong; Haong-Tuong Nguyen-Hao
Tuba: David Sunderland; Alfred Sesay
Timpani: Lena Ito
Percussion: Noel Price; Shawn Lennie; Chloe Murray; Ruby Ansic; Aidan Saladore
Keyboard: Sally Frewen-Lord
2012
Conductor: Sean O’Boyle
Soloists: James Morrison, Suzanne Kompass, Adam Lopez
Guest artists: 1 RAR Band
Program:
A Night in Tunisia: Gillespie & Pararelli. Arr Sean O’Boyle
Till the End of Time: Kaye. Arr. Sean O’Boyle
Estoy Aqui (All I know): Shakira & Luis F. Ochoa. Arr Sean O’Boyle
Ain’t That the Way: Ani Difranco
Hernando’s Hideway: Richard Adler and Jerry Ross. From The Pajama Game
Habanera: Bizet arr. Sean O’Boyle From Carmen
Liber Tango/Tico Tico: Piazzola
Enchanted
Caravan: Duke Ellington & Irving Mills
Jam de Morrisolo: arr. Sean O’Boyle
How Insensitive: Antônio Carlos Jobim. Arr. Sean O’Boyle
Tico Tico: Zequinha de Abreu. Arr.  David Mathews, Musc. Curtis Willcox
Trombone: Musc. Michael Henderson Tangiora Armstrong , Musc.Ben Milne
Tuba: Musc. David Sunderland
Xylophone: WO2 Michael Lee
Drum Kit: Sgt. Mick Beaton
Electric Bass: Musc. Grant Thomas
Timpani: Lena Ito
Percussion: Ian Brunskill, Alex Salvidore
Keyboard/Harp: CPL Carla Allmich
Conductor: Mario Dobernig
Soloist: Raymond Yong
Program:
Smetana: The Moldau
Beethoven: Piano Concerto no. 5 in E-Flat major OP 73 “Emperor
Dvorak: Symphony no. 9 in E-Minor OP 95 “From the New World”
Orchestra Members:
Rehearsal Conductors: Richard Newell, Rianta BelfordConcert Master: Stephen Frewen-Lord
Violin I Stephen Frewen-Lord, Margot Doherty, Eddie Chong, Terese Wilkie, Tracey Cook, Satoshi Shiratsuchi, Ashley Harrington, Vicky Hultgren, Amanda Tapiolas, Katrina Jones, Fiona Hu.
Violin II: Caroline Lloyd-Doolan, Alexandra Gorton, Susan Fraser, Steven Cadell, Rishabh Verma, Stephanie Smith, Sophie Gregory, Nerida Bruyeres, Suva Leitch.
Viola: Rebecca Brown, Jessica Winton, Liz Malone, Michael Hanrahan, Alanna Kelly, Eva Waqainabete, Emily Mathews
Cello: Rachel Lind, Ivy Wu, Aleisha Strom, Wade Tattersall, Carole Radovanovic, Margaret Loftus, Rebecca Marki, Nicolette Griffith, Melinda Frewen-Lord, David Chang.
Double Bass: Phil Honey, Stephen Kluver, Rohan Bruyeres, Katryn Strong
Flute: Alexia Hanschen, Megan Pollock
boe: Bernie Girard, Meghan Beere
Cor Anglais: Anneka Celetto
Clarinet: Jacinta Payne, Rosie Doherty
Bassoon: Helen Land
Horn: Andrew Ryder, Keiri Darrigan, Kimberley Murray, Ben Fryer, Amy Gutterson.
Trumpet: Arthur Florence, Suzanne Darrigan.
Trombone: Hoang-Tuong Nguyen-Hao, Michael Henderson, Amy Windsor
Tuba: David Sunderland
Timpani: Noel Price
Percussion: Andrew Hodgson, Nathan Tipping
Keyboard: Stephanie Smith
Conductor: Richard McIntyre OAM
Soloist: Edwina George, winner 2011 Australian Concerto and Vocal Competition
Program
Glinka: Ruslan and Ludmilla Overture
Prokofiev: Violin Concerto No. 2 in G minor op 63
Rimsky-Korsakov: Russian Easter Festival Overture op 36
Tchaikovsky: The Nutcracker Suite op 71a
Orchestra Members:
Rehearsal Conductor: Suzanne Darrigan
Concert Master: Stephen Frewen-Lord
Violin 1: Stephen Frewen-Lord , Margot Doherty, Stacey Lun, Eddie Chong, Tracey Cook, Satoshi Shiratsuchi, Ashley Harrington, Alana Trott, Henry Orton.
Violin 2: Karin Croft, Kimberley Hammond, Susan Fraser, Alexandra Gorton, Sally Powell, Nerida Bruyeres, Erin Page, Willem Weilbach, Sophie Gregory, Suva Leitch, Amber Jones.
Viola: Rebecca Brown, Anjii Bennett, Liz Malone, Daniel Morris, Eva Waqainabete, Alanna Kelly,Bethany Waller, Megan Adkins, Emily Mathews
Cello: Richard Newell, Una Glavin, Lara Darrigan, Martin de Rooy, Aleisha Strom, David Sills, Rachel Lind, Carole Radovanovic, Margaret Loftus.
Double Bass: Phil Honey, Stephen Kluver, Rohan Bruyeres.
Flute: Alexia Hanschen, Jade Williams, Anne Milanovic,
Piccolo: Sarah Binder
Oboe: Bernard Girard*, Georgina Kanowski. Cor anglais: Anneka Celotto.
Clarinet: Jacinta Payne, Craig Land, Rianta Belford. Bass Clarinet: Andrew Fong.
Bassoon: Katy Frewen-Lord, Helen Land.
Horn: Andrew Ryder, Kieri Darrigan, Kimberley Murray, Ben Fryer.
Trumpet: Suzanne Darrigan, Shelley Gardner.
Trombone: Michael McGrath, Amy Windsor, Hao Nguyen
Tuba: David Sunderland
Percussion: Noel Price, Andrew Hodgson, Levi Savage, Daniel Dempster
Keyboard - celeste: Ashley Harrington.
Harp: Sebastien Lipman
2011
Conductor: Major Andrew Ryder
with members of the 1RAR Band
Visuals from the movies Floris van der Leest, Townsville Cinema Group
Program:
Alfred Newman, Bruce Broughton: 20th Century Fox Fanfare
Hans Zimmer, Lisa Gerrard: Music from the Gladiator (Barbarian Horde; The Battle; Earth)
Percy Grainger, Irish Tune from County Derry
Eric Coates: Dam Busters March
Ennio Morricane: Gabriel’s Oboe
Bruce Rowland: Excerpts from The Man from Snowy River
Mussorgsky: Night on Bare Mountain
Elgar: Nimrod
Monty Morman: Music form James Bond 007 series
John Williams: Excerpts from Star Wars
Orchestra Members:
Rehearsal Conductor: Andrew Ryder
Concert Master: Stephen Frewen-Lord
Violin I: Stephen Frewen-Lord, Erin Darrigan, Margot Doherty, Eddie Chong, Ashley Harrington, Fiona Hu, Anna Butler, Henry Orton
Violin II: Alexandra Gorton, Carla Littlefield, Suva Lietch, Donna Gandini, Joleen Casey
Viola: Kimberley Salmon, Karin Croft, Eva Waqainabete, Liz Malone
Cello: Caroline Arlett, Tamara Ham, Margaret Loftus, Carole Radovanovic, Ashley Crocker, Aleisha Strom, Rachael Lind
Double Bass: Phil Honey, Stephen Kluver
Flute: Ashwini Balnaves, Jade Williams
Piccolo: WO1 Caradoc Jones
Oboe: Bernard Girade, Samantha Hickey
Clarinet: CPL Garry Linton, Alisia Fong, Andrew Fong
Bass Clarinet: Andrew Fong
Bassoon: Katy Frewen-Lord, Helen Land, Tammy Unwin
Horn: Musn. Sarah Clark, Kieri Darrigan, Kimberley Murray, Ben Fryer
Trumpet: Suzanne Darrigan, LCPL Brendon Tasker, Musn. Curtis Wilcox
Trombone: Musn. Rebecca Williams, Hoang-Tuong Nguyen-Hao, Musn. Michael Henderson
Tuba: Musn. David Sunderland
Piano: Alexandra Kanowski
Timpani: Andrew Hodgson
Auxillary: Sarah Binder, Levi Savage, David Carter
Kit: Andrew Hodgson
Guitar: Will Page
Vocalist: Sgt. Jenny Cooke
Conductor: David Lawrence
Soloists: Rebecca Cassidy, Jade Moffat, Kim Kirkman, David Wakeham
Program:
10 songs from Alegretto Choirs accompanied by select members of the Orchestra
Symphony No. 9 in D minor: Op 125
Orchestra Members:
Rehearsal Conductors: Jacinta Payne, Andrew Ryder, Suzanne Darrigan, Richard Newell.
Concert Master: Stephen Frewen-Lord
Violin I Stephen Frewen-Lord; Margot Doherty; Erin Darrigan; Eddie Chong; Carla Littlefield; Henry Orton; Fiona Hu, Ashley Harrington; Gabrielle Scherrer, , Debbie Bowden.
Violin II Karin Croft; Alexandra Gorton; Jesse Lee; Liz Malone: Alana Trott; Sophie Matthews; Inez Graham; Molly Mahlouzarides; Katrina Jones; Donna Gandini.
Viola: Caroline Lloyd-Doolan ;Steven Cadell; Kimberley Salmon; Eva Waqainabete; Val Railey:Michael Patrick ;Nestor Romanik: Susan Fraser.
Cello: Una Glavin ; Carla Trott; Caroline Arlett; Lara Darrigan; Melinda Frewen-Lord ; Lachlan Johnson, Richard Newell.
Double Bass: Phil Honey Katryn Strong, Rohan Bruyeres
Flute: Shinako McDonald Jade Williams
Piccolo: Caradoc Jones
Clarinet: Jacinta Payne Liam Mooney
Oboe: Bernard Girard, Samantha Hickey
Bassoon: Stephen Draper, Helen Land
Contra Bassoon: Johnathon Barakat
Horn: Andrew Ryder, Ben Fryer; Keegan Morrish; Kimberley Murray
Trumpet: Suzanne Darrigan, Shelley Gardner,
Trombone: Amy Windsor, Michael McGrath;
Bass Trombone Hoang-Tuong Nguyen-Hao
Timpani: Andrew Hodgson
Auxiliary : Luke Gallagher; Lutalo Kiyingi; David Carter
Musicians accompanying the Allegretto Choirs:
Erin Darrigan; Alexandra Gorton; Susan Fraser; Carla Trott; Caradoc Jones; Jacinta Payne; Andrew Ryder; Suzanne Darrigan; Ashley Sorrenson; Finlay Hansen; Andrew Hodgson; Lutalo Kiyingi.
Conductor: Raymond Yong
Soloist: Blair Harris, cello, winner 2010 Australian Concerto and Vocal Competition
Program:
Mendelssohn: Hebrides Overture
Faure: Pavane
Saint-Saens: Cello Concerto no 1 in A minor
Beethoven: Symphony No 2 in D
Orchestra members:
Rehearsal Conductor: Suzanne Darrigan
Concert Master: Stephen Frewen-Lord
Violin I: Stephen Frewen-Lord; Ashley Harrington; Carla Littlefield; Eddie Chong; Henry Orton; Liz Malone; Margot Doherty; Stacey Lun
Violin II: Karin Croft ;Alexandra Gorton; Donna Gandini; Gabrielle Stennett; Inez Graham; Molly Mahlouzarides; Nerida Ramsbotham
Viola: Val Railey; Kimberley Salmon; Michael Hanrahan; Susan Fraser
Cello: Richard Newell; Aleisha Strom; Lara Darrigan; Una Galvin
Double Bass: Phil Honey
Flute: Caradoc Jones; Anne Milanovic; Jade Williams
Oboe: Bernard Girard; Nathaniel Ah Kit
Clarinet: Jacinta Payne; Sarah Ridd
Bassoon: Helen Land; Katy Frewen-Lord; Tammy Unwin
Horn: Andrew Ryder; Kieri Darrigan
Trumpet: Suzanne Darrigan; Emily Fox
Percussion: Noel Price
Conductor: Prof. John Hopkins OBE
Soloist: Rebecca Chan, violin, winner 2009 North Queensland Concerto and Vocal Competition
& Pimlico Chamber Strings
Program:
Delibes: Le Roi s’amuse
Mozart: Violin Concerto no. 4 in D K218 (Soloist: Rebecca Chan)
Corelli: Concerto Grosso in G minor, op 6, no. 8 (Pimlico Chamber Strings)
Elgar: Serenade for Strings
Williams: The Lark Ascending (Soloist: Rebecca Chan)
Grainger: Blithe Bells & Mock Morris
Orchestra members:
Concert Master: Stephen Frewen-Lord
Violin I: Stephen Frewen-Lord; Alana Trott; Carla Littlefield Eddie Chong; Jesse Lee; Kim Hammond;Kristina Glindon; Rebecca Chong; Shannon MacIntosh.
Violin II : Margot Doherty; Alexandra Gorton; Angelica Vigar; Donna Gandini; Elizabeth Iles; Inez Graham;Katie Brenton; Molly Mahlouzarides; Rhiannon Rowe;Suva Leitch
Viola: Caroline Lloyd-Doolan; Anjii Bennett; Kimberley Salmon;Michael Hanrahan; Susan Fraser; Tegan Zurbo
Cello: Richard Newell; Aleisha Strom; Carla Mulligan; Emily Jones; Lara Darrigan; Una Glavin
Double Bass: Katryn Strong; Phil Honey
Flute/Piccolo: Shinako McDonald; Caradoc Jones
Oboe: Bernard Girard; Nathaniel Ah Kit
Clarinet: Justin Thamboo; Andrew Fong
Bassoon: Helen Land; Alannah Gould
Horn: Andrew Ryder Kimberley Murray
Trumpet: Andrew Murray
Trombone: Amy Windsor
Percussion: Noel Price; Annie Aldridge; Jonathon Chappell; Lena Ito; Stuart Griffiths
Harmonium: Alisha Fong
Keyboard: Alex Byrne
Pimlico Chamber Strings
Violin One: Rebecca Chong (leader);Alana Trott; Kim Hammond; Shannon MacIntosh
Violin Two: Angelica Vigar; Eddie Chong; Rhiannon Rowe Viola Anjii Bennett; Sara Breitkreitkreutz; Tegan Zurbo
Cello/Bass: Aleisha Strom; Carla Mulligan; Emily Jones; Emma Mooney; Katryn Strong
2010
Conductor: Richard McIntyre OAM
Featuring soloists from the Barrier Reef Orchestra
Program:
Richard Wagner Rienzi Overture
Antonio Vivaldi Concerto for Four Violins in B minor op 3 No. 10
Soloists: Stephen Frewen-Lord, Caroline Lloyd-Doolan, Margot Doherty, Melissa Clarke
Joseph Haydn Concerto for Trumpet and Orchestra
Soloist: John Coulton
Johann Strauss (Jnr.) Blue Danube Waltz
C.M. von Weber Concertstück. op 79
Soloist: Julia Bowden
Leroy Anderson arr. Philip Lang A Trumpeter’s Lullaby
Soloist: Suzanne Darrigan
Franz Doppler Andante and Rondo for Two
Flutes & String Orchestra. op 25
Soloists: Shinako McDonald and Megan Donnelly
Jean Sibelius Finlandia op 26
Orchestra members:
Rehearsal Conductor: Andrew Ryder
Concert Master: Stephen Frewen-Lord
Violin I: Stephen Frewen-Lord, Carla Littlefield, Debbie Bowden, Fiona Hu, Margot Doherty, Mellissa Clarke.
Violin II: Karin Croft, Anna Skillington, Donna Gandini, Jesse Lee, Molly Mahlouzarides, Suva Lietch.
Viola: Caroline Lloyd-Doolan, Kira Anderson, Nestor Romanik, Susan Fraser
Cello: Melinda Frewen-Lord, Lachlan Johnson, Lara Darrigan, Margaret Loftus, Wade Tattersall.
 Ye Banks and Braes
Trad. Arr: Finnegan’s Wake
Ivor Novello: Rose of England
Trad. Arr: O Waly Waly
Edward Elgar: Nimrod from Enigma Variations
Words: Sir Walter Scott. Music Alexander Lee. Arr: O’Boyle: McGregor’s Gathering
Lerner & Lowe: Brigadoon Medley
Sean O’Boyle: Pirates of the Coral Sea
Hammerstein & Rogers: If I Loved You
Percy French Phil the Fluthers Ball
Trad. arr Percy Grainger Danny Boy
Graham Lovland You Raise Me Up
Edward Elgar Pomp and Circumstance Military March Op 39
Words by W. Blake; Music by CHH Parry Jerusalem
Trad. Arr: O’Boyle Amazing Grace
Rule Britannia
Orchestra members:
Rehearsal Conductor: Donna McMahon
Concert Master: Stephen Frewen-Lord
Violin I: Stephen Frewen Lord (Concertmaster);Anna Butler; Ashley Harrington; Debbie Bowden; Fiona Hu; Margot Doherty; Rebecca Chong; Therese Arnold
Violin II: Karin Croft; Ana Argon; Anna Skillington; Donna Gandini; Jesse Lee; Kathryn Brenton; Kristina Glindon; Mary Paola; Sarah Powell; Suva Leitch
Viola: Donna McMahon; Fiona Baker; Jessica Balanzategui; Kimberley Salmon; Nestor Romanik
Cello: Melinda Frewen Lord; Carla Mulligan; Caroline Arlett; Kerry Nolan; Lauchlan Johnson; Margaret Loftus; Richard Newell
Double Bass: Katryn Strong; Phil Honey; Stephen Kluver
Flute: Lauren Ryan; Joyce Leung Piccolo: Caradoc Jones
Clarinet: Jacinta Grace; Justin Thamboo Bass Clarinet: Scott Hansen
Oboe: Alison Umbers; Bernard Girard
Cor Anglais: Bernard Girard
Bassoon: George Kutash; Ian Macpherson
Horn: Andrew Ryder; Kieri Darrigan
Trumpet: Suzanne Darrigan; Julie Bingley
Trombone: Nick de Brueys; Earl Winterstein
Tuba: Rob Jones
Percussion/Timpani: Noel Price; Andrew Hodgson; Braydon Turner; Lutalo Kiyingi
Keyboard: Justin Thamboo
Soloist: Marcus Stocker, cello
Program:
Sibelius: Symphony No. 2 in D op 43
Dvorak: Cello Concerto in B minor, op 104
Sibelius: Tapiola, op 112
Orchestra Members
Rehearsal Conductor: Donna McMahon
Concert Master: Stephen Frewen-Lord
Violin 1: Stephen Frewen-Lord; (concertmaster) Katrina Frewen-Lord; Andrew Lees; Caroline Lloyd-Doolan; Lauren Mackay; Jasmine Martin; Shannon
Violin 2: Alison Brown: Rebecca Chong; Sally Evans: Donna Gandini; Alexandra Gorton; Alexandra Hardy; Suva Leitch;
Viola: Susan Fraser: Susanna Ling; Donna McMahon; Ben Moh
Cello: Una Flavelle; Lachlan Johnson; Margaret Loftus: Carla Mulligan; Carole Radovanovic; Dale Rickert; Ashliegh Rowbottom; Wade Tattersall
Double Bass: Katryn Strong; Phil Honey; Stephen Kluver;
Flute: Caradoc Jones; Alexia Hanschen; Jade Williams
Clarinet: Jacinta Grace; Rosie Doherty
Bass Clarinet: Scott Hansen
Oboe: Danny Cocks; Bernard Girard
Cor Anglais: Bernard Girard
Bassoon: George Kutash; Ian Macpherson
Horn: Suzanne Darrigan; Kieri Darrigan; Andrew Ryder
Trumpet: Arthur Florence; Ben Bonney; Daniel Hiscock
Trombone: Julie Bingley; Paul Temple
Timpani: Andrew Hodgson
Percussion: Noel Price
2008
Featuring: James Morrison; Emma Pask; Catherine Lynagh and 1 RAR Band
Program:
Juan Tizol & Duke Ellington: Caravan
Leon & Otis Rene: Sleepy Time Down South
James Morrison: This Madness Called Love
Jimmy Van Huessen & Johnny Burke: Imagination
Lerner & Lowe: Wouldn’t it be Loverly
George Gershwin: Gershwin Fantasy
Sean O’Boyle: Piano Concerto for Small Hands
James Morrison & Emma Pask: A Little Bit of what you Fancy
Leon Russell; A song for you
Johnny Mandel: The Shadow of Your Smile
James Morrison: Concerto for Bass
Gerry Groffin, Carole King & Jerry Wexter: Natural Woman
Bert Kaempfert & Milt Gabler: L.O.V.E.
George Gershwin: Summertime
Trad. We wish you a Merry Christmas
Orchestra Members:
Rehearsal Conductor: Ben Fixter
Violin 1: Katrina Frewen-Lord; Karin Croft: Debbie Bowden; Alison Brown; Erin Darrigan; Alice Gaynor; Michael Liu; Alison McGann; Shannon McIntosh; Amanda Tapiolas
Violin 2: Molly O’Boyle; Rebecca Chong; Donna Gandini; Alex Gorton; Aly Hardy; Amber Jones; Suva Leitch; Christine Pulvirenti; Anna Skillington; Alana Trott
Viola: Jan Stuart-Street; Ben Moh; Caleb Connolly; Anthony Hanratty; Jessica Winton; Kira Anderson
Cello: Melinda Frewen-Lord; Una Flavelle;Lachlan Johnson; Carla Mulligan; Kristie Theodore; Carla Trott; Rike Wolf
Double Bass: Katryn Strong; Phil Honey; Stephen Kluver;
Flute: Megan Franklin; Cassandra Fixter; Piccolo: Caradoc Jones
Clarinet: Justin Thamboo; Natalie Dajski
Bass Clarinet: Majerle Power
Oboe: Danny Cocks; Bernard Girard
Cor Anglais: Meghan Beere; Bernard Girard
Bassoon: Stephen Draper; George Kutash
Alto Saxophone: Matt Lovegrove; Troy Patti Baritone Saxophone: David Salisbury
Horn: Suzanne Darrigan; Kieri Darrigan; Andrew Ryder: Ashley Skyring
rumpet: Ben Fixter; Arthur Florence; Ben Cobden; Ben Bonney
Trombone: Nick de Brueys; Julie Bingley; Earl Winterstein
Tuba: Rob Jones
Percussion: James McNicol; Luke Gallagher; Elle Graham
Harp: Ellena Papas
Conductor: Richard McIntre OAM
Soloist: Megan Billing, oboe
Program:
Smetana: Vitava/Moldau
Martinu: Oboe Concerto
Dvorak: Symphony no. 7 in D minor op 70
Orchestra members:
Violin 1: Stephen Frewen-Lord;(Concertmaster) Debbie Bowden; Alison Brown; Jasmine Martin; Josephine Pollicina; Daria Romanik; Amanda Tapiolas
Violin 2: Susan Fraser; Karin Croft;Donna Gandini; Alex Gorton; Amber Jones; Suva Leitch; Anna Skillington
Viola: Caroline Lloyd-Doolan; Ben Moh; Jan Stuart-Street
Cello: Una Flavelle;Lachlan Johnson; Ashleigh Rowbottom; Wade Tattersall; Kristie Theodore; Carla Trott Rike
Double Bass: Jessica Balanzategui Phil Honey; Stephen Kluver; Katryn Strong
Flute: Megan Franklin; Caradoc Jones; Phoebe Li
Clarinet: Jacinta Grace; Josephine Pearson; Justin Thamboo
Oboe: Danny Cocks; Bernard Girard
Bassoon: Stephen Draper; George Kutash
Horn: Suzanne Darrigan; Kieri Darrigan; Brendan Orchard; Ashley Skyring
Trumpet: Ben Fixter; Peter Christensen
Trombone: Julie Bingley; Daniel Blackmore; Michael Henderson
Tuba: Rib Jones
Tympani: James McNicol; Luke Gallagher
Percussion: Elle Graham
Piano/Keyboard: Justin Thamboo; Julie Bowden


Last-gasp Caicedo goal gives Lazio fifth successive win
Substitute Felipe Caicedo scored a stoppage-time goal as Lazio claimed a fifth successive Serie A win by beating lowly Sassuolo 2-1 away on Sunday.
REGGIO EMILIA, Italy: Substitute Felipe Caicedo scored a stoppage-time goal as Lazio claimed a fifth successive Serie A win by beating lowly Sassuolo 2-1 away on Sunday.
The Ecuadorean, who came on in the 79th minute, exchanged passes with Luis Alberto and held off a challenge from two defenders before turning to beat Andrea Consigli in the 91st minute of a rain-soaked match.
The win kept Lazio third in Serie A with 27 points from 13 games, two ahead of neighbours AS Roma and eight behind leaders Juventus.
Serie A's leading scorer Ciro Immobile grabbed his 15th league goal of the season to give Lazio the lead in the 34th minute when he ran onto a through ball and scored with a shot which deflected past Consigli.
Francesco Caputo equalised for Sassuolo when he turned the ball in at the far post from a corner with the last kick of the first half.
(Writing by Brian Homewood; Editing by Toby Davis)


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Next: cedille mode commands, Previous: about, Up: Top [Index]
(version: development)
Cedille is implemented in around 13kloc of elisp + Agda. There is an emacs Cedille mode for reading and writing Cedille code using unicode shortcuts. Most importantly, from Cedille mode one can request that the Cedille backend process the current Cedille source buffer, and enter Cedille navigation mode. In Cedille navigation mode, a rich amount of type information computed from the backend is available and can be viewed node by node of the abstract syntax tree for the text of the buffer. One navigates this tree using individual keystrokes (in Cedille navigation mode) like p and n. One can also issue interactive commands, even use a beta-reduction explorer. See cedille mode commands There are several extra buffers available to display information about the current node (the inspect buffer), current typing context, meta-variable solutions, and summary information for the source file.
Additionally, one can request that Cedille elaborate a given source
buffer and its dependencies to Cedille Core, a much more minimalistic
core type theory lacking many of the nice features of Cedille,
especially spine-local type inference. core
contains an implementation
of Cedille Core in Haskell. There is a specification of Cedille Core
here. To elaborate
a source file and its dependencies, use keystroke “E” in Cedille navigation
mode. You will be prompted for the name of a directory into which to store
the elaborated files. These are written as .cdle files. Opening a .cdle file
in emacs (with Cedille installed) will initiate a cdle emacs mode, whose
main purpose is to support typing “Meta-s” to check the cdle file with
the Cedille Core checker. At present, the elaborated files are rather big
and generally will not be checkable all at once in regular Cedille. Cedille
Core is a subset of Cedille, though, and so you can check selections from
these files directly in Cedille (not just in Cedille Core).
The frontend (i.e., the emacs mode) sends request to the backend in a
simple text format. The backend replies with spans, which
consist of a starting and ending character position in the file, a
name for the node, and a list of attribute-value pairs. The inspect
buffer, which one views with keystroke i when a span is
highlighted (with p), shows this information. Some of the
attribute-value pairs are suppressed by default, because they are
intended just for use by the frontend. You can see them if you wish
by changing the setting of the Cedille Mode Debug customization
variable; to do this, use keystroke $ from Cedille navigation
mode to see customization options, or do customize-group
cedille
.
Spans for file F
are cached in a F.cede
file written to
a .cedille
subdirectory of F
’s directory. Spans are
stored and transmitted to the frontend in JSON format. Hence, one
can easily read the span data directly – but you will find that it
is very verbose and much easier to understand through the emacs mode.
The se-mode
(“structured editing”, though it is really just
structured navigation) part of the elisp code is concerned with
processing the spans and assembly an abstract syntax tree based on
span containment. se-mode
is generic, and can be used as the
basis for structured navigation for other languages. se-mode
was proposed, designed, and implemented by (then) U. Iowa
undergraduate Carl Olson, before the current Cedille implementation
began.
Cedille implements a novel form of local type inference due to Chris
Jenkins, called spine-local type inference. Cedille will try to fill
in omitted values for type variables via first-order matching (not
unification). There is currently some heuristic support for
second-order matching, but a complete second-order matcher (note that
second-order matching is decidable, unlike second-order unification)
is planned for after the 1.0 release. The inference is local in the
sense that type meta-variables are never propagated out of a locale,
which is an application spine (i.e., head applied to arguments).
Spine-local type inference also uses the expected type for a locale to
fill in missing values for type variables used in the type of the
locale. For more information, see
the paper on ArXiv. See also
some examples in language-overview/type-inference.ced
. When in
Cedille navigation mode, use keystroke m to view the
meta-variables buffer, where information on meta-variables and their
current solutions (if any) is shown; when this buffer is shown, the
locale will also be highlighted in the Cedille source buffer.
A Cedille source file consists first of a header consisting of optional module imports (import X.
), then a module declaration for the file (module X(params)
), and then more optional imports. The parameters can be term- or type-level, and one can indicate erased term-level parameters with curly braces. For an example of a module parametrized by a type of natural numbers mod 2:
module X(A : ★)(z : A)(s : A ➔ A){p : { z ≃ s (s z) }} .
After the header, the file consists of term, type, or kind definitions.
Modules may be partially applied.
Next: cedille mode commands, Previous: about, Up: Top [Index]


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| SUMMARY: NESTED | FIELD | CONSTR | METHOD | DETAIL: FIELD | CONSTR | METHOD |
java.lang.Object org.newdawn.slick.openal.SoundStore
public class SoundStore
Responsible for holding and playing the sounds used in the game.
| Method Summary | |
|---|---|
void |
clear()
Deletes any sources and clears out the sound store contents |
void |
disable()
Disable use of the Sound Store (must be called before init) |
static SoundStore |
get()
Get the single instance of this class |
Audio |
getAIF(java.io.InputStream in)
Get the Sound based on a specified AIF file |
Audio |
getAIF(java.lang.String ref)
Get the Sound based on a specified AIF file |
Audio |
getAIF(java.lang.String ref,
java.io.InputStream in)
Get the Sound based on a specified AIF file |
float |
getCurrentMusicVolume()
Get the volume scalar of the music that is currently playing. |
Audio |
getMOD(java.io.InputStream in)
Get a MOD sound (mod/xm etc) |
Audio |
getMOD(java.lang.String ref)
Get a MOD sound (mod/xm etc) |
Audio |
getMOD(java.lang.String ref,
java.io.InputStream in)
Get a MOD sound (mod/xm etc) |
float |
getMusicVolume()
Get the volume for music |
Audio |
getOgg(java.io.InputStream in)
Get the Sound based on a specified OGG file |
Audio |
getOgg(java.lang.String ref)
Get the Sound based on a specified OGG file |
Audio |
getOgg(java.lang.String ref,
java.io.InputStream in)
Get the Sound based on a specified OGG file |
Audio |
getOggStream(java.lang.String ref)
Get the Sound based on a specified OGG file |
Audio |
getOggStream(java.net.URL ref)
Get the Sound based on a specified OGG file |
float |
getSoundVolume()
Get the volume for sounds |
int |
getSource(int index)
Get the ID of a given source |
int |
getSourceCount()
Retrieve the number of OpenAL sound sources that have been determined at initialisation. |
Audio |
getWAV(java.io.InputStream in)
Get the Sound based on a specified WAV file |
Audio |
getWAV(java.lang.String ref)
Get the Sound based on a specified WAV file |
Audio |
getWAV(java.lang.String ref,
java.io.InputStream in)
Get the Sound based on a specified WAV file |
void |
init()
Initialise the sound effects stored. |
boolean |
isDeferredLoading()
Check if we're using deferred loading |
boolean |
isMusicOn()
Check if music should currently be playing |
boolean |
isMusicPlaying()
Check if the music is currently playing |
boolean |
musicOn()
Check if music is currently enabled |
void |
pauseLoop()
Pause the music loop that is currently playing |
void |
poll(int delta)
Poll the streaming system |
void |
restartLoop()
Restart the music loop that is currently paused |
void |
setCurrentMusicVolume(float volume)
Set the music volume of the current playing music. |
void |
setDeferredLoading(boolean deferred)
True if we should only record the request to load in the intention of loading the sound later |
void |
setMaxSources(int max)
Set the maximum number of concurrent sound effects that will be attempted |
void |
setMusicOn(boolean music)
Inidicate whether music should be playing |
void |
setMusicPitch(float pitch)
Set the pitch at which the current music is being played |
void |
setMusicVolume(float volume)
Set the music volume |
void |
setSoundsOn(boolean sounds)
Indicate whether sound effects should be played |
void |
setSoundVolume(float volume)
Set the sound volume |
boolean |
soundsOn()
Check if sound effects are currently enabled |
boolean |
soundWorks()
Check if sound works at all |
void |
stopSoundEffect(int id)
Stop a playing sound identified by the ID returned from playing. |
| Methods inherited from class java.lang.Object |
|---|
clone, equals, finalize, getClass, hashCode, notify, notifyAll, toString, wait, wait, wait |
| Method Detail |
|---|
public void clear()
public void disable()
public void setDeferredLoading(boolean deferred)
deferred
- True if the we should load a tokenpublic boolean isDeferredLoading()
public void setMusicOn(boolean music)
music
- True if music should be playedpublic boolean isMusicOn()
public void setMusicVolume(float volume)
volume
- The volume for musicpublic float getCurrentMusicVolume()
public void setCurrentMusicVolume(float volume)
volume
- The volume for the current playing musicpublic void setSoundVolume(float volume)
volume
- The volume for sound fxpublic boolean soundWorks()
public boolean musicOn()
public float getSoundVolume()
public float getMusicVolume()
public int getSource(int index)
index
- The ID of a given source
public void setSoundsOn(boolean sounds)
sounds
- True if sound effects should be playedpublic boolean soundsOn()
public void setMaxSources(int max)
max
- The maximum number of sound effects/music to mixpublic void init()
public void setMusicPitch(float pitch)
pitch
- The pitch at which the current music is being playedpublic void pauseLoop()
public void restartLoop()
public Audio getMOD(java.lang.String ref) throws java.io.IOException
ref
- The refernece to the mod to load
java.io.IOException
- Indicates a failure to read the datapublic Audio getMOD(java.io.InputStream in) throws java.io.IOException
in
- The stream to the MOD to load
java.io.IOException
- Indicates a failure to read the datapublic Audio getMOD(java.lang.String ref, java.io.InputStream in) throws java.io.IOException
ref
- The stream to the MOD to loadin
- The stream to the MOD to load
java.io.IOException
- Indicates a failure to read the datapublic Audio getAIF(java.lang.String ref) throws java.io.IOException
ref
- The reference to the AIF file in the classpath
java.io.IOException
- Indicates a failure to load the AIFpublic Audio getAIF(java.io.InputStream in) throws java.io.IOException
in
- The stream to the MOD to load
java.io.IOException
- Indicates a failure to load the AIFpublic Audio getAIF(java.lang.String ref, java.io.InputStream in) throws java.io.IOException
ref
- The reference to the AIF file in the classpathin
- The stream to the AIF to load
java.io.IOException
- Indicates a failure to load the AIFpublic Audio getWAV(java.lang.String ref) throws java.io.IOException
ref
- The reference to the WAV file in the classpath
java.io.IOException
- Indicates a failure to load the WAVpublic Audio getWAV(java.io.InputStream in) throws java.io.IOException
in
- The stream to the WAV to load
java.io.IOException
- Indicates a failure to load the WAVpublic Audio getWAV(java.lang.String ref, java.io.InputStream in) throws java.io.IOException
ref
- The reference to the WAV file in the classpathin
- The stream to the WAV to load
java.io.IOException
- Indicates a failure to load the WAVpublic Audio getOggStream(java.lang.String ref) throws java.io.IOException
ref
- The reference to the OGG file in the classpath
java.io.IOException
- Indicates a failure to load the OGGpublic Audio getOggStream(java.net.URL ref) throws java.io.IOException
ref
- The reference to the OGG file in the classpath
java.io.IOException
- Indicates a failure to load the OGGpublic Audio getOgg(java.lang.String ref) throws java.io.IOException
ref
- The reference to the OGG file in the classpath
java.io.IOException
- Indicates a failure to load the OGGpublic Audio getOgg(java.io.InputStream in) throws java.io.IOException
in
- The stream to the OGG to load
java.io.IOException
- Indicates a failure to load the OGGpublic Audio getOgg(java.lang.String ref, java.io.InputStream in) throws java.io.IOException
ref
- The reference to the OGG file in the classpathin
- The stream to the OGG to load
java.io.IOException
- Indicates a failure to load the OGGpublic void poll(int delta)
delta
- The amount of time passed since last poll (in milliseconds)public boolean isMusicPlaying()
public static SoundStore get()
public void stopSoundEffect(int id)
id
- The ID of the underlying OpenAL source as returned from playAsSoundEffectpublic int getSourceCount()
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TITUS
STARRING: Anthony Hopkins, Jessica Lange, Alan Cumming, Colm Feore, Harry J. Lennix, Angus MacFadyen, Matthew Rhys, Jonathan Rhys-Meyers DIRECTOR: Julie Taymor WRITTEN BY: Julie Taymor, William Shakespeare (play "Titus Andronicus")
If Tales From The Crypt had been around in the sixteenth century, William Shakespeare's Titus Andronicus would have made a perfect episode. One of the Bard's earliest and least-known plays (written in his formative stage before 1599), it's a nasty little tale of betrayal, murder, and revenge that still packs a shock-value wallop. In bringing her stage adaptation to the screen, theater director Taymor (best known for her Broadway version of Disney's The Lion King) admirably doesn't shy away from these lurid elements. In attempting to tinker with the original play's ancient Roman setting, however, she has created a film that is at once mesmerizing and preposterous, fascinating but ultimately frustrating.
The story centers around Titus Andronicus (Hopkins), a victorious general who returns to Rome with several prisoners in tow. These include Tamora (Lange), the vengeful Queen of the Goths, her three sons, and her lover, a dark-skinned Moor named Aaron (Lennix). All of these captives will eventually spell disaster for Titus and his family. In a typically Shakespearean turn of events, Tamora ends up marrying the newly crowned Emperor Saturninus (Cumming), and promptly proceeds to take revenge on Titus for killing her firstborn son as a sacrifice. By the time Tamora and Aaron are through, three of Titus' sons are dead, another banished from Rome, and his daughter subjected to particularly gruesome atrocities. Naturally, Titus is devastated to the point of insanity, but he keeps it together long enough to cook up a revenge scheme that would make the Crypt Keeper proud.
In terms of interpretation, Taymor's adaptation is brilliant. She stages scenes with a mastery that truly brings the play to life, and she gets performances that are solid all around. As the duty-bound Titus, Hopkins plumbs depths of despair and madness with riveting presence. As the irredeemably evil Aaron, Lennix skillfully avoids caricature, and Cumming makes a memorably snide and capricious Saturninus. Lange, in her first Shakespeare role, gives Tamora the benefit of her age. In bed with Saturninus and her sons, the Goth Queen radiates an almost incestuous sexuality. Despite the occasional accent slip, Lange holds her own against Hopkins and the rest of the exceptional cast.
Unfortunately, Taymor can't resist the urge to customize the play's original setting. While she isn't the first director to try it (see A Midsummer Night's Dream), she does such a poor job that it nearly torpedoes the entire film. She seems to be striving for the sort of uniquely indeterminate time frame that Terry Gilliam (Brazil, The Fisher King) does so well, but too much of the production design is merely clumsy anachronism. Every time the story threatens to become totally engrossing, a motorbike or an arcade videogame or a shotgun will suddenly appear as an irritating distraction. Worse yet, the character of Young Lucius (Titus' grandson) acts as a surrogate audience throughout the film, undermining the effectiveness of nearly every scene he's in.
While these touches are more artifice than art, they thankfully don't outweigh the film's merits. Titus is worth seeing for the performances, and for Taymor's confident interpretation of the dialogue. Besides, as the Crypt Keeper would say, "there's plenty of meat to the story, boils and ghouls." Heh heh.
GRADE: **1/2
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


Everyone is affected by COVID-19 one way or another. Sewing masks at home to donate is not the most unique idea, but it does not have to be unique to be useful. Everyone is doing it, but I wanted to bring those people together to form a community. My mom kept telling me how she donated to a cause in India where they provide groceries and masks to those that cannot afford it or how someone on the news donated 1,000 masks to a hospital. I have heard of numerous individuals and programs donating masks to frontline workers throughout the country. However, I wanted to focus on my home, and that is why I decided to start "Ma(s)king a Difference." I hope to "ma(s)k a difference" for those that make my home and my city a better place. I would love to achieve this goal alongside the members of my community and support our area together.


Bitcoin 2017 Surge Caused By Single Entity: Bloomberg
by Anatol AntonoviciLast year, two academics concluded that the Bitcoin rally in 2017, when the cryptocurrency hit the all-time high, was caused by manipulation. Now the research authors figured out that the surge was likely caused by a single entity.
Single Whale Behind Bitcoin’s Dec 2017 Rally
In 2018, John Griffin, professor at the University of Texas, and Amin Shams, assistant professor at the Ohio State University, published a paper that claimed the Bitcoin astronomical gain in late 2017 was the result of manipulation.
Now the duo voiced interesting updates. They alleged that a single entity on cryptocurrency exchange Bitfinex might be responsible for the crazy uptrend. The whale could send the Bitcoin price higher whenever it declined below certain limits. Tether’s USDT, the stablecoin supposedly backed by US dollars with the ratio of 1:1, was used for most of the transactions, Griffin claims. He stated in an interview with Bloomberg:
Our results suggest instead of thousands of investors moving the price of Bitcoin, it’s just one large one. Years from now, people will be surprised to learn investors handed over billions to people they didn’t know and who faced little oversight.
USDT Coins Printed Out of Thin Air Were The Key
Griffin and Shams’ claims rely on the theory that Tether created new USDT coins without being fully backed by USD. These coins were then used to buy BTC, which eventually led to the price surge. The academics monitored USDT and BTC transactions from March 1, 2017, to the end of March 2018. They concluded that Bitcoin purchases on Bitfinex increased every time the BTC price declined below certain thresholds.
Griffin and Shams said in an updated paper seen by Bloomberg:
This pattern is only present in periods following printing of Tether, driven by a single large account holder, and not observed by other exchanges. Simulations show that these patterns are highly unlikely to be due to chance. This one large player or entity either exhibited clairvoyant market timing or exerted an extremely large price impact on Bitcoin that is not observed in aggregate flows from other smaller traders.
The authors didn’t want to name the entity who they think was behind the move.
Tether rejects the accusations. The company’s General Counsel Stuart Hoegner said that the paper was “foundationally flawed” as it relied on an insufficient data set.
Nevertheless, both Bitfinex and Tether have been surrounded by controversies for years, with the companies being owned and managed by the same executives.
Is it possible that Bitcoin’s ATH came after manipulations? Share your thoughts in the comments section!
Images via Shutterstock
The Rundown


Welcome to the Constellation Scripting View! This document will walk you through the API, describing the available graph and plugin operations as well as any other functions available to you.
The Scripting View provides access any open graph in Constellation programmatically via a range of scripting languages (with Python being the preferred language). It is able to access any part of Constellation's internal public API, ie. anything a Constellation developer can access) as well as easy-to-use scripting specific data-structures.
When you open the Scripting View, it will initialise several custom objects for you to make use of in your scripts.
You can add your own custom objects by extending the ScriptingModule class in the Scripting Module. Speak to your developers for more information on what they have added, or to include your own custom scripting objects.
The current active graph is always readily accessible using the provided graph object, which provides a number of convenient methods for reading from and writing to the graph. Under the hood, the graph object is an SGraph, which provides access for interrogation and editing of the underlying Constellation graph. The SGraph object, as well as all the objects obtainable from an SGraph are documented in the API javadoc.
You can access all other open graphs using the utilities object as follows:
You can also make a copy of a graph using the utilities object as follows:
Every user action in Constellation is designed to be a disposable operation (generally on the graph) called a plugin. The Scripting View provides the ability to run any plugin available to Constellation using the provided utilities object. The utilities object provides two ways to run a plugin:
Plugin names and parameters are documented in the Plugins tab of the Schema View within Constellation.


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[1]
the location is excellent just over the room.
[2]
the breakfast was very good with a modern fantastic hotel.


An introvert at heart, I enjoy the outdoors, nature walks, extreem sports and swimming. Books are my first love, choosing from a wide range of thriller, financial, inspirational and mystery.Throught our the years I've acquired a few skills from php, java, C++ and visual basic. I chose programming to be able solve problems using a few lines of code.


Hi Aaedrzferf!
So glad you signed up for the 30 Day Challenge!
Before we get started, I just need to take care of a little housekeeping, so could you please follow these 2 simple steps to complete the sign up process!
STEP 1: CONFIRM EMAIL
To confirm your request, please
click here.
Clicking the link above will confirm your email address and allow you to receive the information you requested. If you do not want to receive any communication, please ignore this message.
STEP 2: COMPLETE REGISTRATION:
That's it! Make sure you watch the Orientation video to get important information about the challenge.
What’s Next?
Be on the lookout for your CHALLENGE EMAILS:
1- Your Welcome Email will arrive after you finish confirming your email address!
2- The challenge starts TOMORROW - so get excited! You’ll get an email every day with your challenge :)
Get ready…...I’ll see you very soon!
-Betty Rocker
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Cardinal Station Newburg Center for Primary Care
215 Central Avenue, Suite 100 1941 Bishop Lane, Suite 900 215 Central Avenue, Suite 205
Louisville, KY 40208 Louisville, KY 40218 Louisville, Ky 40208
I:\FCM\Phyllis Harris\Forms\New Patient Pkg Components
UofL Department of Family & Geriatric Medicine
Dear New Patient,
Welcome to your University of Louisville Physicians Family practice! We
are offering patient-centered medical care and are enthusiastic about our
relationships with our patients. In order to better serve your needs, we are
enclosing several forms and ask that you completely fill each form out.
The first sheet will help us learn more about you; please completely fill out this
form about your family history. The next sheet is titled, “Authorization for the
use and/or Disclosure of Protected Health Information”, and you will need to
completely fill that out for our doctors to treat you
to the best of their ability; it
gives us permission to review your medical records from your previous primary
medical facilities.
Following, please completely fill out the Registration, Social Services & Consent
Form. Next, you will find our Privacy Notice, followed by an acknowledgement that
you have received and understand our Privacy Policies. Finally, the last form is the
Office Acknowledgements and Policies form. Please read carefully and sign
your name at the bottom of the letter.
Please make sure to bring all of these forms with you to your first office visit.
Do not mail them back to the office. Also, please remember to always
bring your picture ID, current insurance cards and your co-payment. If your
health insurance requires you to select a primary care doctor please do so prior to
your office visit. Please bring in any and all medication you take, in their
original bottles, to your appointment.
If the patient is under 18 years of age he or she must be accompanied by an
adult and will need to bring a copy of their current immunization certificate.
Please arrive 15 minutes ahead of your scheduled appointment time so that if
you have questions about these forms or we need more information, we can
address it all prior to your appointment.
We look forward to seeing you!
University of Louisville Physicians
UofL Family and Geriatric Medicine
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Hello there,
We noticed that you started, but didn't finish registering for ZADO 2564.
If you are still interested in attending please use the below link:
If you found something confusing or need more information before registering,
please contact us by replying to this email or by emailing us at https://www.xpmxjgwekg.org
We're so excited to see you we just wanna dance!
But we won't get a chance unless you finish your registration.
Until then, thank you for starting the registration process!
Thank You,
The ANVR Team
Bladder Cancer Advocacy Network | www.BCAN.org | 1-888-901-BCAN |<EMAIL_ADDRESS>4915 St. Elmo Avenue, Suite 202 | Bethesda, MD 20814
Dear Members:
Last month, we shared a message regarding Merck's anticipated TICE BCG supply constraints due to an
increasing global demand for the product.
To minimize disruption to patient care, Merck (the sole supplier of BCG to the United States) announced
an immediate change to their TICE BCG distribution model, and in January, ceased all drop shipments
and began allocating TICE BCG exclusively to wholesalers and distributors based on product supply and
historical purchasing patterns. Wholesalers and distributors in turn, began utilizing the same allocation
model to fulfill customer orders directly; therefore, please contact your wholesaler should you have any
questions about your allotment.
Although Merck is exploring options to increase their production of TICE BCG, they expect this global
supply constraint to continue throughout 2019.
The American Urological Association (AUA), American Association of Clinical Urologists (AACU), Bladder
Cancer Advocacy Network (BCAN), Society of Urologic Oncology (SUO), the Large Urology Group Practice
Association (LUGPA) and the Urology Care Foundation (UCF) remain extremely concerned about this
shortage and its effects on the care of bladder cancer patients. Efforts to engage the U.S. Food and Drug
Administration to approve additional strains and supplies of BCG are ongoing and all organizations
noted above continue to communicate with Merck for the most up-to-date information on this issue.
Until the shortage has been resolved, the following strategies may help maximize the care for patients
with Non-Muscle Invasive Bladder Cancer (NMIBC), subject, as always, to physician judgment in
individual cases:
1. BCG should not be used for patients with low-risk disease.
2. Intravesical chemotherapy should be used as the first-line option for patients with
intermediate-risk NMIBC. Patients with recurrent/multifocal low-grade Ta lesions who require
intravesical therapy should receive intravesical chemotherapy such as mitomycin, gemcitabine,
epirubicin or docetaxel instead of BCG.
3. If BCG would be administered as second-line therapy for patients with intermediate-risk
NMIBC, an alternative intravesical chemotherapy should be used rather than BCG in the setting
of this BCG shortage.
4. For patients with high-risk NMIBC, high-grade T1 and CIS patients receiving induction
therapy, they should be prioritized for use of full-strength BCG. If not available, these patients
and other high-risk patients should be given a reduced 1/2 to 1/3 dose, if feasible.
5. If supply exists for maintenance therapy for patients with NMIBC, every attempt should be
made to use 1/3 dose BCG and limit dose to one year.
6. In the event of BCG supply shortage, maintenance therapy should not be given and BCGnaïve patients with high-risk disease should be prioritized for induction BCG.
7. If BCG is not available, a preferable alternative to BCG is mitomycin (induction and monthly
maintenance up to one year). Other options such as gemcitabine, epirubicin, docetaxel,
valrubicin or sequential gemcitabine/docetaxel or gemcitabine/mitomycin may also be
considered with an induction and possible maintenance regimen.
8. Patients with high-risk features (i.e., high-grade T1 with additional risk factors such as
concomitant carcinoma in situ, lymphovascular invasion, prostatic urethral involvement or
variant histology) who are not willing to take any potential oncologic risks with alternative
intravesical agents, should be offered initial radical cystectomy, if they are surgical candidates.
ADDITIONAL NOTES:
If 1/2 to 1/3 dose BCG is used, every attempt should be made to treat multiple patients on the same
day, while being consistent with product labeling, to avoid drug wastage. It is recommended
Bladder Cancer Advocacy Network | www.BCAN.org | 1-888-901-BCAN |<EMAIL_ADDRESS>4915 St. Elmo Avenue, Suite 202 | Bethesda, MD 20814
practitioners communicate with their pharmacy to ensure that if split dosing is used, it is done with
appropriate safety precautions.
As always, it is important these decisions be made after an informed discussion with the individual
patient regarding their treatment options in the context of the ongoing BCG shortage.
Note: It is recognized there are legitimate concerns around split-vial dosing of BCG. It is unknown at this
time whether it is acceptable to bill for more than one patient per vial of BCG. The AUA has been in
contact with the Centers for Medicare & Medicaid Services (CMS) and is awaiting billing guidance for
practices implementing split-vial dosing, if allowed in the Medicare program. At this time, the AUA
suggests confirmation with any insurance company prior to splitting vials.
Every effort should be made to enroll patients in clinical trials to offer an appropriate alternative
management strategy where this is feasible.
Review the official AUA/SUO Risk Stratification Table for NMIBC.
We will continue to update you as we receive additional information.
Sincerely,


The goal of PL/JSON is to create a correct implementation of JSON to use in a PL/SQL environment. The Oracle object syntax has been chosen to ensure a straightforward and easy way to decode and encode JSON. PL/JSON is delivered AS IS and we cannot make any guarantee or be held responsible to any unwanted effects that may arise from using this software. However, we would like to stress that we have tested, and used this software, and believe that it is a safe product to use.
Features of PL/JSON include:
The PL/JSON distribution consists of:
pljson_dyn
A package that enables you to generate JSON
from sql. Nested queries are not supported. See example 16 for more information.
pljson_ml
A package that converts from XML to JSON using
a XSLT stylesheet. See www.jsonml.org.
pljson_xml
A package that converts a JSON object to XML.
pljson_helper
Work on JSON with set operations.
pljson_util_pkg
Written by Morten Braten
(http://ora-00001.blogspot.com).
Generate JSON from sql using a XSLT stylesheet.
pljson_ac
Autocomplete package. Some PL/SQL IDEs provide
autocompletion when using a package but not when using an object type.
This package is a wrapper around the methods on
pljson
, pljson_list
and pljson_value
to assist such IDEs.
Known limitations of PL/JSON are:
If you need help with PL/JSON, you can post questions on StackOverflow using the pljson tag. Or create a new issue on our GitHub issues tracker. There are also quite a few good articles written about PL/JSON that are a simple Google search away.
The remainder of this document provides an overview of using PL/JSON along with some examples. The PLDoc generated documentation is also available.
Basically PL/JSON can be used in two ways: Either you manually build up an object
structure and emit JSON text with the to_char
method or you parse JSON text
into a object structure and use the objects in PL/SQL. Obviously you could also
parse JSON text into objects, modify these and then emit JSON text. There are
only three objects you should know:
pljson
, pljson_list
and pljson_value
. The
pljson
object can hold an object described by the { }
syntax
and is named pljson
rather than pljson_object
to keep
the name short. The pljson_list
object can hold an
array described with the [ ]
syntax. The postfix "list" was chosen over
"array" for two reasons, one: to keep it short, two: there seems to be a naming
standard in Oracle types that the postfix "array" is being used to describe
types with the "table of" construction. The last type pljson_value
contains
the primitive simple types (strings, numbers, bools, null), but can also
contain an array or an object. The object model for PL/JSON is shown in figure
PL/JSON Object Model:
Input to the parser is expected to be in the charset of the database. The objects that are generated contain unescaped values that will be escaped when emitted through the printer. To ensure correct JSON output, even from non-UTF databases, only ASCII chars are emitted. All the characters which are not part of ASCII will be escaped.
The errors or exceptions that PL/JSON may throw, can be caught with the following code:
declare
scanner_exception exception;
pragma exception_init(scanner_exception, -20100);
parser_exception exception;
pragma exception_init(parser_exception, -20101);
jext_exception exception;
pragma exception_init(jext_exception, -20110);
...
begin
-- … json code …
exception
when scanner_exception exception then …
when parser_exception exception then …
when jext_exception exception then …
end;


What goes in the head?
Everything in a html document is nested within either the <head>or the <body>. The <head> provides additional data to the browser that won’t be displayed on the main page, such as the document title <title> (which you’ll see on the title bar in the browser window), links to any external files (like your css or javascript), and any other beneficial metadata. The <body> element contains the actual content of the website; everything you see in the browser.
General Meta Data
This defines the character set that the browser will use to decode the website (just add it to every site).
<meta charset="utf-8">
This tells the browser that your website is responsive and works well on mobile phones and tablets. It’s highly recommended.
<!-- meta data to tell the browser that your device is responsive -->
<meta name="viewport" content="width=device-width, initial-scale=1">
<meta name="robots" content="index, follow">
<meta name="mobile-web-app-capable" content="yes">
<meta name="apple-mobile-web-app-capable" content="yes">
<meta name="apple-mobile-web-app-status-bar-style" content="default">
SEO & Social Meta tags
While there are lots of different strategies involved in ranking for SEO, providing appropriate meta data is certainly important. The title attribute is what will show in the tab at the top of the browser, and in the preview on google. The description shows up under the title, and the keywords give context of what the site is about.
<!-- Meta data for SEO purposes. -->
<title> The Institute of Code </title>
<meta name="description" content="With little to no previous technical experience, we'll teach you how to write HTML, CSS & Javascript code to build responsive websites from scratch and built a portfolio of live websites">
<meta name="keywords" content="coding, web development, html, css, bali, course">
Open Graph tags affect what will display when someone shares your website on social media (especially Facebook and Twitter). If you don’t manually set this it will pull the first image from your website which is likely your logo or something similar.
<!-- Social media sharing META Tags -->
<meta property="og:title" content="Institute of Code">
<meta property="og:description" content="With little to no previous technical experience, we'll teach you how to write HTML, CSS & Javascript code to build responsive websites from scratch and built a portfolio of responsive sites.">
<meta property="og:image" content="/images/terry-pool.jpg">
<meta property="og:url" content="www.instituteofcode.com">
<meta name="twitter:card" content="With little to no previous technical experience, we'll teach you how to write HTML, CSS & Javascript code to build responsive websites from scratch and built a portfolio of responsive sites.">
<meta name="og:site_name" content="The Institute of Code">
If you are using Social Analytics to track links from social media to your website, you should add this meta data also.
<!-- Social Media Analytics IDs -->
<meta property="fb:app_id" content="your_app_id" />
<meta name="twitter:site" content="@website-username">
Connect your Stylesheets
Any css stylesheet that you want to use (including your own) must be linked in the head in order for it to apply. This includes things like Font Awesome Icons, Google Fonts, etc.
<!-- External CSS Stylesheets always go first -->
<link href="https://maxcdn.bootstrapcdn.com/font-awesome/4.7.0/css/font-awesome.min.css" rel="stylesheet">
<link href="https://fonts.googleapis.com/css?family=Lato" rel="stylesheet">
<!-- Your CSS Stylesheets -->
<link href="/css/main.css" rel="stylesheet">


Defining JavaScript Resources In QML
The program logic for a QML application may be defined in JavaScript. The JavaScript code may either be defined in-line in QML documents, or separated into JavaScript files (known as JavaScript Resources
in QML).
There are two different kinds of JavaScript resources which are supported in QML: code-behind implementation files, and shared (library) files. Both kinds of JavaScript resource may be imported by other JavaScript resources, or included in QML modules.
Code-Behind Implementation Resource
Most JavaScript files imported into a QML document are stateful implementations for the QML document importing them. In these cases, each instance of the QML object type defined in the document requires a separate copy of the JavaScript objects and state in order to behave correctly.
The default behavior when importing JavaScript files is to provide a unique, isolated copy for each QML component instance. If that JavaScript file does not import any resources or modules with a .import
statement, its code will run in the same scope as the QML component instance and consequently can access and manipulate the objects and properties declared in that QML component. Otherwise, it will have its own unique scope, and objects and properties of the QML component should be passed to the functions of the JavaScript file as parameters if they are required.
An example of a code-behind implementation resource follows:
// MyButton.qml import QtQuick 2.0 import "my_button_impl.js" as Logic // a new instance of this JavaScript resource is loaded for each instance of Button.qml Rectangle { id: rect width: 200 height: 100 color: "red" MouseArea { id: mousearea anchors.fill: parent onClicked: Logic.onClicked(rect) } }
// my_button_impl.js var clickCount = 0; // this state is separate for each instance of MyButton function onClicked(button) { clickCount += 1; if ((clickCount % 5) == 0) { button.color = Qt.rgba(1,0,0,1); } else { button.color = Qt.rgba(0,1,0,1); } }
In general, simple logic should be defined in-line in the QML file, but more complex logic should be separated into code-behind implementation resources for maintainability and readability.
Shared JavaScript Resources (Libraries)
Some JavaScript files act more like libraries - they provide a set of helper functions that take input and compute output, but never manipulate QML component instances directly.
As it would be wasteful for each QML component instance to have a unique copy of these libraries, the JavaScript programmer can indicate a particular file is a shared library through the use of a pragma, as shown in the following example.
// factorial.js .pragma library var factorialCount = 0; function factorial(a) { a = parseInt(a); // factorial recursion if (a > 0) return a * factorial(a - 1); // shared state factorialCount += 1; // recursion base-case. return 1; } function factorialCallCount() { return factorialCount; }
The pragma declaration must appear before any JavaScript code excluding comments.
Note that multiple QML documents can import "factorial.js"
and call the factorial and factorialCallCount functions that it provides. The state of the JavaScript import is shared across the QML documents which import it, and thus the return value of the factorialCallCount function may be non-zero when called within a QML document which never calls the factorial function.
For example:
// Calculator.qml import QtQuick 2.0 import "factorial.js" as FactorialCalculator // this JavaScript resource is only ever loaded once by the engine, even if multiple instances of Calculator.qml are created Text { width: 500 height: 100 property int input: 17 text: "The factorial of " + input + " is: " + FactorialCalculator.factorial(input) }
As they are shared, .pragma library files cannot access QML component instance objects or properties directly, although QML values can be passed as function parameters.


New Version Available
:
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EDSM Uplink Connection Error
×
Current Location
Name
Type
Distance
Details
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Unknown
{% if not disable_nav_route %}
Nav Route
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Name
Type
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Waiting for nav data...
{% endif %}


Better ingredients, better pizza - it's not a slogan. It's a way of life.
Hapiiness is pizza
Ideas are like pizza dough,made to be tossed around.
Top each with pizza sauce, cheese, and your desired toppings. Bake mini pizzas until cheese is melted to your delight.
Go back to where it all began with Pizza sauce and the classic cheese, Topped with tomato diced and Pesto sauce.
With its characteristic large, foldable slices and crispy outer crust, Kenya-style pizza is one of Kenya's favs delicacies.


Read or watch chapter 4 of Search Inside Yourself, and reflect:
Q1. What is the relationship between mindfulness and self awareness?
Mindfulness I think facilitates self awareness. It opens up an opportunity for introspection as you are not engaging with the milieu of data floating around. Without this noise you can review the more deep and meaningful aspects of self. One has a pause to take out their emotional skeletons, try them on, wear them, dance around the room and reckon with them. Our deeper emotional states and natural tendencies when we know them well can help us better navigate the world.
Q2. Try at least one of the self awareness practices from the chapter (Body Scan, Journaling). What was your experience of it? How did you feel?
I tried mindful journaling. It’s a practice that I have tried to keep up. It allows for more writing and writing that is not necessarily stressed as to weather it is good or not. It is a writing where on can subjectively view the self as if an external narrator. I think this also helps to build an objective empathy - you can observe this person as if they were a friend. As if they were someone we wanted to care for and help.
Q3. What did you take away from the "My Emotions are Not Me" section?
I took away that you can be calm in a storm. You are like the ocean, you can be calm or violent. The wind can ripple across your surface and make huge crashing waves. However regardless of the condition or the influences you remain being, inextricably, the ocean.  Regardless of how you are feeling. There is power in having cognizance of this fact.


public class DataStreams
extends java.lang.Object
inbound(Iterator)
treats multiple ByteString
s as a single input stream and
outbound(OutputChunkConsumer)
treats a single OutputStream
as multiple
ByteString
s.| Modifier and Type | Class and Description |
|---|---|
static class |
DataStreams.BlockingQueueIterator<T>
Allows for one or more writing threads to append values to this iterator while one reading
thread reads values.
|
static class |
DataStreams.DataStreamDecoder<T>
|
static class |
DataStreams.ElementDelimitedOutputStream
An adapter which wraps an
DataStreams.OutputChunkConsumer as an OutputStream . |
static interface |
DataStreams.OutputChunkConsumer<T>
A callback which is invoked whenever the
outbound(org.apache.beam.sdk.fn.stream.DataStreams.OutputChunkConsumer<com.google.protobuf.ByteString>) OutputStream becomes full. |
| Modifier and Type | Field and Description |
|---|---|
static int |
DEFAULT_OUTBOUND_BUFFER_LIMIT_BYTES |
| Constructor and Description |
|---|
DataStreams() |
| Modifier and Type | Method and Description |
|---|---|
static java.io.InputStream |
inbound(java.util.Iterator<com.google.protobuf.ByteString> bytes)
Converts multiple
ByteString s into a single InputStream . |
static DataStreams.ElementDelimitedOutputStream |
outbound(DataStreams.OutputChunkConsumer<com.google.protobuf.ByteString> consumer)
Converts a single element delimited
OutputStream into multiple
ByteStrings . |
static DataStreams.ElementDelimitedOutputStream |
outbound(DataStreams.OutputChunkConsumer<com.google.protobuf.ByteString> consumer,
int maximumChunkSize)
Converts a single element delimited
OutputStream into multiple
ByteStrings using the specified maximum chunk size. |
public static final int DEFAULT_OUTBOUND_BUFFER_LIMIT_BYTES
public static java.io.InputStream inbound(java.util.Iterator<com.google.protobuf.ByteString> bytes)
ByteString
s into a single InputStream
.
The iterator is accessed lazily. The supplied Iterator
should block until
either it knows that no more values will be provided or it has the next ByteString
.
Note that this InputStream
follows the Beam Fn API specification for forcing values
that decode consuming zero bytes to consuming exactly one byte.
public static DataStreams.ElementDelimitedOutputStream outbound(DataStreams.OutputChunkConsumer<com.google.protobuf.ByteString> consumer)
OutputStream
into multiple
ByteStrings
.
Note that users must call DataStreams.ElementDelimitedOutputStream.delimitElement()
after each
element.
Note that this OutputStream
follows the Beam Fn API specification for forcing values
that encode producing zero bytes to produce exactly one byte.
public static DataStreams.ElementDelimitedOutputStream outbound(DataStreams.OutputChunkConsumer<com.google.protobuf.ByteString> consumer, int maximumChunkSize)
OutputStream
into multiple
ByteStrings
using the specified maximum chunk size.
Note that users must call DataStreams.ElementDelimitedOutputStream.delimitElement()
after each
element.
Note that this OutputStream
follows the Beam Fn API specification for forcing values
that encode producing zero bytes to produce exactly one byte.


Sheikh Nabil Mohammad
Person Info
Full Name:
Bob
Employee Code:
Nilson
Department:
Male
Dept Code:
20.01.1984
Email:
Category1
Designation:
Free
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public bool HttpRequest::addPostFile ( string $name , string $file [, string $content_type = "application/x-octetstream" ] )
Add a file to the POST request, leaving previously set files unchanged. Affects only POST and custom requests. Cannot be used with raw post data.
Returns TRUE on success, or FALSE if the content type seems not to contain a primary and a secondary content type part.


This is why you should start massaging your baby
by Anne WangechiIt's good for your baby
Maybe you ever tried massaging your baby but could not continue because they cried all through. Or, maybe you are afraid that massaging your baby could hurt them.
According to Mayo clinic, infant massage can be really helpful to the baby so long as it’s done in the right way. Before you massage your baby, make sure they are in their best of moods – yes, babies can be moody too and highly irritable. If your baby is crying and seems restless, then it’s probably not the best time to massage them. But if they are calm, it’s possible that they are going to enjoy the massage.
How to massage your baby
First forward, you need to make sure that the environment is friendly for the baby. There is no way they are going to like it if it’s cold and they are shivering. If you are doing it indoors, heat up the room first before you undress them for a massage.
ALSO READ: Clever tips to raise a baby on a tight budget
Also make sure that the place is quiet or you can put on some slow, soothing music. To make the gliding easier, use an oil such as coconut oil. Massage them gently making sure that you do not tickle them as this might make them irritable and they’ll resist it.
Another important thing to consider before massaging your baby is how long it is since they fed. It should be done at least 30-40 minutes after they feed to avoid vomiting.
Since the baby cannot talk, be sure to watch their response as you massage them. If you watch keenly, you can tell if they like it or if it makes them comfortable. If they resist it, don’t force it. Leave them alone and try it some other time.
Benefits of massaging your baby
1. It helps them sleep better
A massage helps to relax the baby and it’s a good way to lull them to sleep. For children who find it difficult to sleep, studies have shown that they sleep better after a massage.
2. It improves digestion
You might have heard people say that their infant pooped after a massage. This is because the massage process relaxes various body organs thus enhancing the digestion process. If the baby is suffering from gas, constipation or indigestion, a good massage might be all they need.
ALSO READ: 6 biggest misconceptions about stay at home moms
3. Bonding
This is another perfect way for you to bond with your baby. Talk to them through the process to make it more enjoyable for both of you. As you interact with your baby, your bond becomes stronger.
4. Relieves colic
Most babies cry even after they are well fed and had their diapers changed due to colic. Although the real cause of colic is not known, baby massage has been found to relieve it.


Workflow Management System
Product Description
Our goal is to create the best workflow manager!
The airline industry currently does not have the capability to
fully utilize the large amounts of data generated every day to enhance customer experience, increase the efficiency of
operations or make better data-driven decisions.
The goal of this project is to create a workflow manager that allows developers working on a data science project to introduce
new models as plugins into the data science pipeline to allow end users to visualize and explore model-generated data.
In this first iteration, we focused on two big parts of the puzzle, the plugin architecture and the interactive dashboard for
users interested in analyzing the different models.